On 15/12/17 13:45, David Wright wrote:
> On Fri 15 Dec 2017 at 10:02:19 (+0000), Wols Lists wrote:
>> On 15/12/17 06:20, Saul Tobin wrote:
>>> Relative mode makes perfect sense if you're entering music that cares
>>> mainly about the relationship between notes within a phrase (i.e. most
>>> music). IMO absolute mode might be easier from the perspective of the
>>> software, but it's not how most musicians think, and that's
>>> important. Maybe the documentation could do a better job explaining the
>>> semantics of relative mode and when to use \resetRelativeOctave?
>>>
>>> I take exception to the idea that relative mode ought to be deprecated.
>>> I've been using exclusively relative mode to compose for almost ten
>>> years, and I think it's great.
>>
>> I think Han-Wen actually wrote \resetRelativeOctave for me :-)
>>
>> But if you don't understand relative then it will mess you up.
>>
>> Does anybody (not me :-) want to write a little update for the docu that
>> will make both relative mode and \resetRelativeOctave (hopefully) clear?
>>
>> It originated when I was (iirc) transcribing Chattanooga Choo-Choo, and
>> there's a repeated phrase, so I thought I'd define it as a variable.
>> OOOPPSS! The starting and ending notes are a fifth or more apart, and
>> the phrase repeats with nothing else in-between. The resulting staircase
>> was spectacular!
>>
>> If somebody would care to take that as hint for putting an example in
>> the docu, that's fine by me! :-)
>
> Just use \relative early.
>
I was thinking more along the lines of (note this is NOT TESTED)
phrase = { c f d g }
\relative { \phrase \phrase \phrase }
\relative { \resetRelativeOctave \phrase \resetRelativeOctave \phrase
\resetRelativeOctave \phrase }
Cheers,
Wol
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